Full-on rock n’roll to blow away the cobwebs.
Richard Davies may have been part of many bands and collaborations over his long musical career but he has never wavered from his trademark rock n’roll. This, his second solo record, firmly extends that heritage. Sounding somewhere between Tom Petty and Ian Hunter, Davies blasts his way through songs that are gritty and real, as he puts it, songs that are, “as relatable as possible”. Throwing in three covers alongside his own writing, he succeeds once again in producing an album that is for turning up loud and revelling in vocals that rasp with attitude, has guitars ringing in every direction and for those of a certain age, exemplifies rock as it should be played.
His sound originates from the 20th century but Davies is perhaps best known for his time in The Snakes formed early this century. Their blend of alt-country and rock brought deserved plaudits, a mix that re-emerged on his 2020 debut solo album, ‘Human Traffic’. This second album with its tougher, leaner edge harks back to those Snakes days, perhaps unsurprising as the producer is Simon Moor, who with Davies founded the band. That more uncompromising sound complements the generally darker tone to the lyrics.
Opener ‘Keep Your Fire Burning’ blazes with defiance, certainly a statement of intent for album and who knows, Davies himself. Cascading, jangly guitars and voice that screams Petty (but a particularly English one). Up a couple of gears for the racing ‘Soldier Of Fortune’, Davies’s outlook on the world is none too positive, a view amplified by ‘Born To Drown’, a take on the precariousness of life, “You think you got it made/ but you got nowhere to go”.
At a more modest pace ‘Lead Me Out Of The Wilderness’ is the Mott The Hoople moment with its flowing vocals and guitar lines. If Davies was seeking a direction ‘Suburbia’ is not his preferred destination. Alt-country vies with power pop as Davies considers life in the ‘burbs before concluding it is probably not for him.
With all that alt-country it is no surprise Davies selected ‘Lover Of The Bayou’ as one of his covers. He pays tribute to McGuinn and Levy with a suitably muscular version. This reviewer will not be the only listener to have reached for the original for comparison. Davies puts his mark on The Grass Roots classic, ‘Let’s Live For Today’ by turning the original summer of ’67 folksiness into a rocking blaster to close the album.
If there is a similarity that runs through the tracks on this album, it is certainly a formula that works. Richard Davies & The Dissidents know what they are good at and they stick to it. Nothing wrong with that.
